It came into England with Coleridge, with Leigh Hunt and Keats, and found its extreme in Byron. Later still, it fought a victorious campaign in France, under the young Hugo and his comrades. In fine, with color, warmth, feeling, picturesqueness, the iridescent wave swept over Europe, and to the Western world,—affecting our own poetry and fiction since the true rise of American ideality. Upon its German starting-ground the imperial Goethe Goethe.was enthroned, but he has been almost the only universalist and world-poet of its begetting. For he not only produced with ease the lyrics that made all younger minstrels his votaries, but was fertile in massive and purposely objective work. The drama was his life-study, and he sought to be, like Shakespeare, dramatist and manager in one. "Faust," the master-work of our century, is an "Faust."epochal creation. Yet even "Faust" is the reflection of Goethe's experience as the self-elected archetype of Man, and is subjective in its ethical intent and individuality. Still, the master's tranquil, almost Jovian, nature enabled him often to separate his personality from his inventions. This Hugo.more rarely is the case with the only Frenchman comparable to him in scope and dramatic fertility,—superior to him in energy of lyrical splendor. Melodramatic power and imagination are the twin genii of Hugo, and his human passion is intense; but his own strenuous, untamed temperament compels us everywhere, even in his romantic and historic plays.
